The Lord of the Rings: A Musical Tale has opened in Australia – and staffer Eorl the Young was there for the premiere. Here’s his review of the experience:

As reported previously on TheOneRing.net, the phenomenal production of The Lord of the Rings — A Musical Tale, that had been playing in the USA and New Zealand in 2024, finally made its debut in Australia this month.

I had the privilege of attending the Sydney premiere, and it was an unforgettable experience.

Held at the iconic State Theatre, with its ornate ceilings, art deco charm, and grand ambience, the venue felt perfectly suited for a tale as epic and timeless as Tolkien’s.

From the moment I walked up the street to the venue, it was clear this wasn’t just another night at the theatre — the excitement in the air was palpable even outside the theatre where fans queued up several hours before the show began.

Many dressed as characters from Middle-earth and were in high spirits as they milled about the entrance; Boromir, several Elves (including two Arwens), a remarkably creative “sexy Shelob”, and an Eye of Sauron, all made an appearance.

The evening started on an unexpectedly warm and interactive note.

Before the performance began, the cast embraced the audience, singing impromptu Hobbit-themed songs accompanied by various musical instruments, and playing Shire-themed games like ring toss (the hilarious symbolism dawns on me as I write this).

When the cast were all assembled on stage, they invited everyone to join in a spirited rendition of Happy Birthday to Bilbo. We thought it was part of the pre-show fun and games, but the Happy Birthday song that we were invited to sing was in fact the beginning (and a very innovative one at that) of the musical itself, with the ending segueing perfectly into the beginning of Act I.

This playful, Hobbity opening instantly set the mood, drawing the audience into Middle-earth with a sense of camaraderie.

THE CAST

Unsurprisingly, the performances were nothing short of extraordinary, as the musical starred some of Australia’s acclaimed musical theatre performers and actor-musicians, including Jemma Rix as Galadriel, Ian Stenlake as Saruman, Rob Mallett as Strider, and Rarmian Newton as Frodo Baggins.

Bilbo (Laurence Coy) was adorable, both on and off-stage, to the point you wanted to talk with him for hours on end, and invite him to breakfast, and second breakfast, like an old friend.

Gandalf (Terence Crawford) commanded the stage with a voice and presence that perfectly captured his wisdom and gravitas.

Frodo and Sam’s portrayal was heartfelt and deeply moving throughout, their friendship anchoring the emotional core of the production. They were the leads after all, and their casting was as close to perfect as one might hope to expect.

Merry and Pippin brought energy and humor throughout, providing much-needed levity in darker moments.

And Galadriel! Galadriel was a true standout. Jemma Rix’s voice was constantly powerful and haunting, her every performance resonating throughout the theatre. Her solos were an absolute highlight, commanding the room every single time with their sheer vocal power. It isn’t a stretch to presume she left the audience spellbound each time she ended with a rousing crescendo, as I noted that there was always a momentary stunned silence before the audience applauded her performance.

Aragorn and Arwen’s unexpected duets brought tender moments of longing and love (yes, they kissed!)

Boromir’s character brought intensity and humanity to his arc.

Fans will appreciate his performance knowing the fate that befalls him. That scene was a high point of the production, deeply emotional and handled with care.

After the show, the actor (Rohan Campbell) mentioned how much it meant to him to do justice to Boromir’s redemption. You could tell.

Extra special mention must go to Smeagol / Gollum, who was an absolute marvel from his first appearance until his final moment of moments. His physicality, rasping voice, and duality were all executed to perfection – yes, perfection, and perhaps beyond perfection.

This a role that will undoubtedly invite comparisons to Andy Serkis’s Gollum for an entire generation of LOTR fans, and yet the actor (Laurence Boxhall) delivered something fresh while staying true to the essence of Gollum. Chilling, silly, hilarious, menacing, pitiful… I could go on.

MUSIC AND SONGS

The musical took a bold step by introducing original songs rather than adapting Tolkien’s verses. While this might disappoint purists, the new music more than justified its inclusion.

“Forever and Always”, a poignant duet between Frodo and Sam, was my favourite. It brought a particularly memorable tone to the entire show, blending heartfelt emotion with an absolutely surprising, bone-chilling interruption from Gollum that sent shivers down my spine several times (without exaggeration). The actor is absolutely amazing in this role. This song, and the three-way performance, was one of the biggest highlights of the show for me.

Overall, the music wasn’t just functional; it added layers to the story. Each song — whether it was an intimate love ballad between Man and Elf, a melancholic duet between Hobbit mates, a sweeping chorus of Elves, or a raucous Orcish battle-song — felt deliberate and evocative.

While I missed Tolkien’s lyrics at times, the original compositions stood firmly on their own, supported by stellar performances.

I would actually hope the producers are able to record one of the live performances and release in some form of media at least the music, if not the entire live production, so fans who don’t have the ability to experience this performance in person can also have the opportunity to hear these songs.

STAGECRAFT AND VISUALS

The production’s technical achievements were nothing short of spectacular.

Bilbo’s disappearance at his Eleventy-first Birthday Party was executed with dazzling effects — light, fire, and smoke combining to create a truly magical moment.

The Nazgûl’s entrance was one of the most chilling sequences, with the actors weaving through the aisles as eerie lights and sounds amplified their menace. Seeing them so close in the darkened theatre was a spine-tingling experience.

Other standout moments included the Balrog in Khazad-dûm, brought to life through a clever interplay of light and fabric that evoked its fearsome presence without overloading the stage.

And then there was Shelob! A massive spider puppet emerged from the darkness, literally taking up the entire stage, its movements so lifelike and creepy that the entire audience gasped audibly. It was a jaw-dropping moment of stagecraft that has to be seen to be believed.

The show also excelled at juxtaposition. The Battle of the Pelennor Fields was brilliantly interwoven with Frodo and Sam’s climb up Mount Doom, keeping the tension high across both storylines at the same time. Magical!

Even quieter moments, like Frodo slipping into the “shadow world” when wearing the Ring, were handled with inventive lighting, sound, and acting that heightened the drama and left the audience in silence enough to hear a pin drop.

ADAPTATION AND STORYTELLING

Adapting The Lord of the Rings for the stage is no easy task, and compressing such a vast narrative inevitably means sacrifices.

Some scenes leaned heavily on exposition, which felt a little overexplained at times; but these moments helped orient audience members less familiar with the story. On the whole, the streamlined approach worked, focusing on the most essential arcs without losing the heart of Tolkien’s tale. For example, Theoden was the only character from Rohan featured in the Helm’s Deep sequence — a choice that made sense, given the constraints of time and complexity.

What stood out most was the creativity in how the production handled certain moments.

Treebeard was represented through voice acting alone, with Merry and Pippin reacting to an unseen presence in a way that felt natural and compelling. Kudos to both actors for bringing believability and upholding what could have been one of the weaker points of the production.

Likewise, Bree’s doorkeeper was conveyed entirely through sound effects and timing. The actor’s timing, paired with perfectly synced sound effects of the creaking gate, brought the scene to life despite its simplicity. It was a small but memorable moment, with the actor fully committing to the role and adding a touch of humor and authenticity that stayed with me.

These small, clever touches added unexpected charm and ingenuity to the storytelling.

HIGHLIGHTS AND FINAL THOUGHTS

The emotional resonance of the musical was undeniable.

The Grey Havens finale left many in tears, myself included, echoing the bittersweet beauty of Tolkien’s original ending. So many performances and moments lingered with me long after the curtain fell.

One thing that did stand out to me though was how understandable the production was. I spoke to a couple of people who had never read the books or seen the movies, and they loved it as a standalone work. It drew them into the story enough that they came away wanting to know more about Tolkien’s world. That’s a testament to how well the production works, as an adaptation, as a piece of theatre, and as a tribute to Tolkien.

Of course, no adaptation can please everyone.

Purists may find things to criticise — whether it’s the absence of Tolkien’s original songs, or the inevitable omissions in the story. But I don’t believe the aim of this production is to recreate The Lord of the Rings exactly as it exists in the books. That would be an impossible task anyway. Instead, the musical offers a fresh, deeply creative interpretation that stands as a testament to the power of theatre and the enduring relevance of Tolkien’s work.

Inside the theatre, I spoke to some of the wonderful designers behind the show’s many costumes, and as I was leaving, I spoke with a lovely couple whose daughter happened to have worked as a dresser for the show. They all shared how hard the cast and crew had worked in the lead-up to the premiere, with 13+ hour days to perfect every minute detail. It’s a testament to their dedication that the result feels so polished, from the acting and music, to the stunning technical effects.

I certainly plan to attend again before the musical completes its Sydney run. There’s so much to take in, and so many blink-and-you-miss-it moments, that it’s worth a second (or third) viewing.

For fans of Middle-earth — or anyone who loves epic, immersive theatre — this is an experience you won’t want to miss. Tickets are available – for Sydney, other locations in Australia, and for the UK and Singapore – here.

Posted in:

• Events
• Fans
• LotR Books
• LotR Stage
• Stage Productions
• The Lord of the Rings
• Tolkien

Share:

Regular readers will know that The Lord of the Rings: A Musical Tale has been playing at the Chicago Shakespeare Theatre (quick, catch it before it closes on Sept 1!); and will then head down under, first to New Zealand and then to Australia. Staffer Madeye Gamgee went to see the show in Chicago, and was fortunate to have an opening preview conversation with Producer Kevin Wallace.

“This is all about the Hobbits telling their story.”

This Gandalfian counsel from The Lord of the Rings: A Musical Tale producer Kevin Wallace provides an essential lens for anyone engaging in the magic that sweeps across the Chicago stage in this re-imagined production of the epic Tolkien classic. Just as Tolkien himself discovered upon penning, “In a hole in the ground there lived a hobbit,” so too this musical seeks to transform the epic into the intimate, connecting us to joyfully humble hobbit roots through memorable songs, sparkling dance, and music from the performers themselves. “It’s a retelling of their story,” per Wallace; appropriately so given Frodo’s entrusting of the Red Book of Westmarch to Sam and his progeny. The songs go ever on and on.

Originally conceived “as a great piece of commercial art” in its mithril-financed, three-act/3.5 hour initial form for Toronto (2006) and London’s West End (2007-8), ‘The Lord of the Rings Musical’ has seen a renaissance at a much more hobbit-like scale. Now billed more simply as A Musical Tale, the 2023 revival at the Watermill Theatre in Newbury (UK) dropped an entire act, reduced the number of actors by more than 40, and compressed the run time by nearly an hour. (You can find staffer greendragon’s review of that production here.) “Compared to the earlier productions, this is ‘rough’ theater,” Wallace explained. “It’s hobbits telling their story with what’s available to them… It’s actually ‘big’ theater with the illusion of being ‘poor’. You’re allowed to see how we’re doing it.” Which is why Pippin goes to war carrying a cello, a feat which comes off surprisingly well, to the consternation of a few marauding orcs; and we’re talking some serious swordsmanship by the double bass player.

Two and three quarter hours to cover the whole book? Really?

The PJ extended edition movies combined run for over 12 hours of content, and listening to the unabridged audiobooks will take you at least 54 hours at regular speed. So how is it possible to pack all of this theatrical Third Age goodness into the flight time between New York and Chicago (and still in time to wrap up before all the local restaurants close)? Kevin Wallace is very familiar with the challenge: “Given the films, we must satisfy our audience’s primary expectations.” Appearances by a very shadowy and flame-flowing Balrog, a stage-filling Shelob, and an especially spot-on and athletic homage to Andy Serkis’ Gollum (by actor Tony Bozzuto) certainly fed these appetites. “The essence of the story, though, is Sam’s and Frodo’s journey. Side sections have to fall away…” So the lands of Gondor and Rohan become “the Lands of Men”, Théoden and Denethor combine to become simply the “Steward of Gondor”, and we lose storylines and characters that many find dear. All you lovers of beacon-lighting, Paths of the Dead/Dead Marshes, and “I am no man” heroics may need a post-play re-watching, particularly of the second two movies, to scratch those particular itches. But even though there’s still no Bombadil, if you’ve ever wondered what John Lithgow’s version of Treebeard would sound like, this is the production for you.

Still, this is no mere cryptic condensation – despite what some less flattering critics have dwelled on since the inaugural performances in London and Toronto. This production certainly rewards any who are already familiar with the LotR story and personalities, whether through the book and/or movies: character connections are easier, e.g., between Merry and Pippin or Frodo and Gandalf; and plot compression leaves room for personal appreciation of excluded side quests and lost details. I found that the musical’s condensed frame actually served to intensify how I experienced some core Tolkien themes: the blending of voices, musical languages, and cultures in a functioning (and whirling) Fellowship; the enchantment and providential intricacy of dance as an element of creation and connection; the longing and reassurance of beauty observable in stellar spheres, sharply contrasted with the darkness that lingers here in Middle-earth (thank you, Kevin, for continuing to defend the inclusion of “The Star of Eärendil” on the song list!); and especially the hope and heartbreak of repentance, sometimes attained as with Boromir, and sometimes approached and then rejected, as with Gollum’s tragic tale. This was beautifully portrayed (far better than anything PJ produced) in Gollum’s self-aborted restoration to a more noble, never-ending story of worthy Hobbit heroes, as sung by Frodo and Sam in the poignant “Now and for Always” as they approach Mordor and Shelob’s snares. Gollum’s plaintive lyrical mimicry, and the mirroring choreography as he and Frodo together reach for some unseen saving grace, all leverage live theater powerfully in a demonstration of their shared addiction, and diverging paths, given the power of the One Ring. We even hear a faint note of self-sacrifice from Sméagol as he falls toward the Cracks of Doom, “Master is free…”

While condensed, this Musical Tale still manages to offer worthy, and unique, moments to integrate into the ways you may have experienced the artistic and thematic power of Tolkien’s story.

The Road Keeps Going Ever On

The Lord of the Rings: A Musical Tale continues to evolve. “Our Watermill production was a beautiful, intricate Swiss watch,” said Wallace. “Now, here in Chicago, we’ve built a more highly sophisticated Swiss clock.”  Even with all the sets, puppetry, and props shipped in from last year’s UK production, the US premiere enjoys a larger venue than the Watermill, courtesy of the Chicago Shakespeare Theater’s innovative and flexible stage, The Yard. Director Paul Hart works wonders in leveraging this flexibility, from multilevel balconies built into the set, to Gollum’s gymnastic entrance from mid-audience to begin Act 2, to the lighting and mechanical magic that the set makes possible. The US cast and orchestration has also grown a bit from its Watermill roots, adding four new cast members/musicians (including that dangerous double bass). “It’s a production with Chicago ownership, reflecting the demographics and acting talent of the city,” added Wallace.

So where does the Road lead once the Chicago production wraps on September 1? The Civic Theater in Auckland has already scored a similar limited run as Chicago’s, with shows from the 5^th though the 24^th of November. And just announced is an Australia premiere, with performances beginning at the Sydney State Theater on January 7, 2025. And whither then? Well, wait and see!

“This production is not only a phenomenal opportunity, but also a huge responsibility. You just don’t want to take it for granted… In time, others will take the words and the music and ask, ‘How will I tell that story?’  But we’re still in our infancy with this one.”  Suffice it to say that Kevin Wallace has dreams. Big dreams. Take some jewelry to Mordor big, unsurprisingly.

The Lord of the Rings: A Musical Tale continues through September 1 at the Chicago Shakespeare Theater. You can find tickets on their website, here.

Posted in:

• Events
• Interview
• LotR Stage
• Music
• Stage Productions
• The Lord of the Rings
• Tolkien

Share:

Our good friends at Volante Opera have been in touch with very exciting news! You may remember, in 2022 and 2023 we brought you news of their work with composer Paul Corfield Godfrey, to bring to life his operas of stories from The Silmarillion.

Godfrey had for many years been working on operatic excerpts from The Lord of the Rings – and during lockdown, he and the Volante Opera folks had even begun recording excerpts, ‘just in case’; but the Tolkien Estate had not granted permission for those works to be released.

We can now exclusively reveal that Godfrey and Volante Opera Productions have been granted permission to release recordings and scores of these works.

There are thirty ‘chapters’, intended to be performed over six evenings. The text is (of course) abridged, but uses as closely as possible Tolkien’s own words; and fans can even look forward to an appearance by that most elusive of characters in adaptations, Tom Bombadil!

The fifteen CD set should be available in 2025. Meanwhile, you can enjoy Volante’s previous recordings of Godfrey’s Silmarillion settings, available to purchase on their website; and here’s a trailer, with aural ‘glimpses’ of what treats we have in store.

Here’s the official press release from Volante Opera:

AT LAST – AN OPERATIC TREATMENT OF THE LORD OF THE RINGS

For many years the Tolkien Estate has refused to allow any musical treatment of the works of the author which employed his own words. Now they have agreed to make a concession in respect of the music of Paul Corfield Godfrey, whose cycle of “epic scenes from The Silmarillion” was finally completed in 2023 with the issue of a ten-CD series of recordings from Volante Opera and Prima Facie Records.

Ever since the 1960s the composer has been working on sketches, fragments and episodes of what was envisaged as a cycle of musical works based upon The Lord of the Rings. Following on from the success of the recordings of The Silmarillion Paul was persuaded to go back to these beginnings and fully explore, expand and complete the work which has now evolved as “musical chapters from The Lord of the Rings”. This fully operatic setting has now become a companion work on the same scale as The Silmarillion. This adaptation takes place over thirty “chapters” designed to be performed over six evenings – over fifteen hours of music.

This work is currently in the process of recording by Volante Opera and it is anticipated that Prima Facie will release a demo recording of the complete cycle, in the same manner as their Silmarillion recordings, in 2025.

Cast

The professional singers, some thirty in number, come mainly from Welsh National Opera. Returning artists from The Silmarillion include: Simon Crosby Buttle as Frodo, Julian Boyce as Sam, Philip Lloyd-Evans as Gandalf, Stephen Wells as Aragorn, Michael Clifton-Thompson as Gollum, Helen Jarmany as Éowyn, Huw Llywelyn as Bilbo, Emma Mary Llewellyn as Arwen, Laurence Cole as Boromir/Denethor, Martin Lloyd as Treebeard/Herb Master, Helen Greenaway as Lobelia/Ioreth, Rosie Hay as Gwaihir, Sophie Yelland as the Barrow-wight, Louise Ratcliffe as Lindir, with George Newton-Fitzgerald and Jasey Hall taking on a plethora of roles. Angharad Morgan will also be reprising her role as Galadriel from The Silmarillion. Our new cast members and their characters will be introduced as the recording process continues.

Those who have enjoyed the composer’s large-scale setting of The Silmarillion will be pleased to discover that the music inhabits the same musical world as before, with many ideas and themes continued and expanded into The Lord of the Rings. The “musical chapters” also incorporate other works by the composer such as his earlier Tolkien songs (already available on CD) which now assume greater significance in the course of the whole structure.

Although the text is inevitably abridged, it adheres without any but the most minor alterations to the author’s original words, and the original plot development remains unchanged – including such elements as Tom Bombadil, the Barrow-wight and the ‘scouring of the Shire’. And some other passages, such as the coronation and wedding of Aragorn, are given expanded musical treatment.

Further tales from Tolkien in music

Also coming early 2025, a complete recording of Paul Corfield Godfrey’s solo piano works played by renowned British concert pianist Duncan Honeybourne. This will include, amongst other works, the epic piano rondo Akallabêth, a solo piano version of the Wedding March from The Fall of Gondolin, and a new work composed specifically for Duncan and this album – ‘The Passing of Arwen’.

For more information about the work please visit: www.paulcorfieldgodfrey.co.uk
For more information about the recording by Volante Opera Productions please visit: www.volanteopera.wales
Updates about the recording process will be posted to our social media feeds:
DISCORD: https://discord.gg/J6bQFHygr7
FACEBOOK: Volante Opera Productions, The Music of Paul Corfield Godfrey
INSTAGRAM/THREADS: @volanteopera
TWITTER/X: @OperaVolante, @TheCorfield
Recordings and scores of Epic Scenes from The Silmarillion and Akallabêth and other Tolkien Works are available from Volante Opera Productions’ website.

Check out Volante’s website for lots more information, including more details on casting/characters, chapter breakdown, and synopsis. So much to look forward to; we can’t wait to hear these pieces in full. Now we hope they may be brought to the stage one day… Meanwhile here’s Godfrey’s ‘Lament for Boromir’ – enjoy!

Texts by J.R.R. Tolkien from The Lord of the Rings and The Adventures of Tom Bombadil by permission of the Estate of the author, HarperCollins Publishers and Middle-earth Enterprises.

Posted in:

• Creations
• Fans
• Headlines
• J.R.R. Tolkien
• LotR Books
• Merchandise
• Middle-earth Enterprises
• Miscellaneous
• Music
• Other Tolkien books
• recordings
• Shop
• Silmarillion
• Stage Productions
• The Hobbit
• The Lord of the Rings
• Tolkien
• Tolkien Estate

Share:

As you no doubt know by now, there is a new production of The Lord of the Rings musical currently playing at The Watermill Theatre; it opened July 25th and runs until October 15th. Last week, staffer greendragon ventured into the Berkshire countryside and found herself in the Shire. Here’s her review of the production:

The Lord of the Rings restaged

When The Lord of the Rings musical first appeared, in all its (at the time) ‘most expensive musical ever’ glory, I went to see it in London. I was not convinced. The extravagant, elaborate staging could not conceal the fact that the songs were not particularly memorable, and it just seemed like Tolkien’s story wasn’t really suited to this kind of telling. It was not surprising when the show was not the hoped for success.

Rediscovering the piece, in its new, MUCH smaller and more intimate staging, I am closer to being convinced. First of all, the setting is stunning. The audience arrive in a beautiful, bucolic location, where food and drink can be enjoyed by a slowly winding river. A large ring of woven willow decorates the front lawn of the venue. As show time approaches, everyone heads to behind the building – following signs to the ‘birthday party’. So the performance begins outside – where we are all guests at a Long-expected Party. (Though for some reason, it was referred to as a ‘long awaited party’. Perhaps this was a slip of the tongue? As this production is fully licensed by Middle-earth Enterprises, they certainly have the right to use the Professor’s phrase.)

The Shire is the perfect place for music, and so the show gets off to a very strong start. We are swept up in the party atmosphere; I delighted in seeing the Sackville-Bagginses looking suitably annoyed when they learned that Bilbo was making Frodo his heir, and Bilbo’s disappearance was very well handled. As the Shire-folk rushed around, wondering where he had gone, we joined them in their search – heading inside to the rustic wooden theatre.

This very small auditorium – with just under 100 seats downstairs and about the same again upstairs – is brilliantly used in every way possible to tell the epic story. The staging is incredibly inventive, with cast moving through the auditorium – and even climbing over it. Stunning puppets create suitably terrifying Ringwraiths and an astonishing Shelob. Elrond causes the river to rise, the doors of Moria glow, even the Balrog appears; every theatrical trick and device is called into play, including impressive lighting and projections, to create Middle-earth in front of and around the audience – and those watching the night I was there were clearly loving it.

An outstanding cast

The cast were mostly excellent. Stand outs for me were Nuwan Hugh Perera as a funny, warm, pitch-perfect Samwise; John O’Mahony’s charming Bilbo; and Matthew Bugg, whose astonishingly athletic and aggressive Gollum managed to be fully his own embodiment of the character, rather than being trapped in an Andy Serkis impression. I loved Folarin Akinmade’s Gimli, and wished the script allowed more time for his relationship with Legolas (Yazdan Qafouri) to be played out; one very touching moment between them towards the end of the show made me want more of these characters. Peter Dukes (Boromir) and Aaron Sidwell (Aragorn) were particularly moving in Boromir’s death scene. Louis Maskell didn’t entirely convince me as Frodo, being perhaps slightly overwrought; but it’s a demanding role which carries much of the show, and overall he proved himself equal to the task. Peter Marinker as Gandalf seemed to be still finding his way into the role, in the early performance I saw.

Condensing the plot

If you’re a Tolkien purist, you’ll may find fault with this version of the story. To fit the entire plot into one evening of theatre naturally requires much pruning and condensing – poor Tom Bombadil and Celeborn don’t make the cut, again! Denethor and Theoden are blended into one, as are the battles of Helm’s Deep and the Pelennor Fields. I think the condensation of the story is skilfully handled; I was more bothered, in a picky purist sort of a way, by the Hobbits wearing sandals – though I do understand the need for safety for actors’ feet!

The costuming – with influences of Bollywood in the elven outfits – is similar to the original production, and the revolving stage is still there (albeit in much smaller form). The show looks and sounds stunning; the cast are also the band, and though it may sound like a strange idea, somehow it works seamlessly when Pippin (the charming and highly energetic Amelia Gabriel) picks up an accordion and starts to play. Certainly in the Shire and at Bree, the songs work wonderfully. I’m still not sure about the rest of the music. Retelling such an intense, literary tale in musical form is not easy; Les Miserables comes to mind as the most obvious, successful literature-to-musical transformation. The writers of The Lord of the Rings musical haven’t quite pulled off this difficult transition, for me. It just doesn’t seem entirely plausible when Arwen and Aragorn sing a (rather Disney-ish) love duet on the eve of battle; but perhaps I’m just cynical.

A climax, and a tearjerker ending

The one song which stayed with me from the original production was Now and for Always – and that is still the high point of the show, beautifully and movingly performed. As the show approached its end, and the Hobbits returned to the Shire, to clear up the damage caused by Sharkey and his ruffians, we headed back outside with them. A sail was now unfurled where once a party banner had been; and I was moved to tears as Frodo made his farewells, and left Sam to carry on the story.

In spite of my few misgivings, overall this is a beautiful, moving evening of theatre, and a wonderful chance to immerse yourself in Tolkien’s great story. It’s worth the price of admission just to be transported to the Shire. I imagine the producers may be hoping this production will transfer elsewhere after its run at the Watermill Theatre; but even if it does, this is the perfect setting in which to see it. Do go, if you can.

The Lord of the Rings will play at the Watermill from Tuesday 25 July until Sunday 15 October 2023.  Tickets are on sale via watermill.org.uk/The-Lord-Of-The-Rings. 

Posted in:

• Events
• LotR Books
• LotR Stage
• Stage Productions
• The Lord of the Rings
• Tolkien

Share:

The brand new production of The Lord of the Rings musical is almost here! The show opens next week, Tuesday July 25, at The Watermill Theatre, near Newbury in Berkshire. To whet appetites, a musical video has been released – and it’s an absolute delight, sure to transport you back to the Shire. Take a look:

Don’t miss the chance to see this charming and moving re-tellling of the beloved story; grab your tickets now!

The Lord of the Rings will play at the Watermill from Tuesday 25 July until Sunday 15 October 2023.  Tickets are on sale via watermill.org.uk/The-Lord-Of-The-Rings. 

Posted in:

• Events
• LotR Books
• LotR Stage
• Stage Productions
• The Lord of the Rings
• Tolkien

Share:

Back in March we let you know that a new production of The Lord of the Rings musical was in the works. It will be performed at The Watermill Theatre, near Newbury in Berkshire, July 25 to Oct 15 this year. Tickets for this highly anticipated production are available now! Here’s the latest information on cast and crew for this exciting production, from the official press release:

THE LORD OF THE RINGS FULL CASTING AND CREATIVE TEAM ANNOUNCED

25 JULY – 15 OCTOBER

BOOK ONLINE AT WATERMILL.ORG.UK OR VIA THE BOX OFFICE ON 01635 46044

Newbury’s The Watermill Theatre is thrilled to announce the full cast of their upcoming musical; a brand-new production of THE LORD OF THE RINGS, a musical tale based on the classic trilogy by J.R.R. Tolkien, with book and lyrics by Shaun McKenna and Matthew Warchus and music by A.R. Rahman (Bombay Dreams, Slumdog Millionaire), Värttinä and Tony Award winner and Grammy nominated Christopher Nightingale (Matilda the Musical).

With the production set across both the Watermill auditorium and gardens, audiences will be immersed in the magical landscape of Middle-earth, joining an ensemble cast and large-scale puppets on an epic journey celebrating the power of friendship and common goodness to conquer unimaginable evil.

The full cast are Folarin Akinmade (Perfect Show for Rachel – The Pit, Barbican) as ‘Gimli’, Matthew Bugg (Zorro the Musical – Charing Cross Theatre) as ‘Gollum’, Reece Causton (Matthew Bourne’s The Car Man – UK Tour) as ‘Ensemble’, Kelly Coughlin (Avenue 5 – HBO/Sky) as ‘Ensemble’, Geraint Downing (A Christmas Carol – The Old Vic Theatre) as ‘Merry’, Peter Dukes (Brief Encounter – Empire, Haymarket) as ‘Boromir’, Amelia Gabriel (Ride – VAULT Festival) as ‘Pippin’, Tom Giles (Miss Littlewood – Royal Shakespeare Company) as ‘Elrond/Saruman’, Charlotte Grayson (Whistle Down The Wind – The Watermill Theatre) as ‘Rosie’, Nuwan Hugh Perera (Life of Pi – Wyndham’s Theatre, West End) as ‘Sam’, Bridget Lappin (The Rhinegold – English National Opera) as ‘Ensemble/Dance Captain’, Georgia Louise (Tammy Faye – Almeida Theatre) as ‘Galadriel’, Elliot Mackenzie (Whistle Down The Wind – The Watermill Theatre) as ‘Ensemble’, Peter Marinker (Judge Dredd, Love, Actually, Labyrinth) as ‘Gandalf’, Louis Maskell (The Grinning Man – Bristol Old Vic & Trafalgar Studios, West End) as ‘Frodo’, Aoife O’Dea (Innocence – Royal Opera House) as ‘Arwen’, John O’Mahony (Fisherman’s Friends the Musical, UK Tour) as ‘Bilbo’, Yazdan Qafouri (The Band – Theatre Royal Haymarket, West End) as ‘Legolas’, Sioned Saunders (Amélie – Criterion Theatre, West End & The Watermill Theatre) as ‘Ensemble/Onstage Musical Director’ and Aaron Sidwell (EastEnders – BBC, Wicked – UK Tour) as ‘Aragorn’.

The Lord of the Rings will play at the Watermill from Tuesday 25 July until Sunday 15 October 2023.  Tickets are on sale via watermill.org.uk/The-Lord-Of-The-Rings. 

As the Hobbits celebrate Bilbo Baggins’ eleventy-first birthday, he gifts his nephew Frodo his inheritance – including his most precious belonging – a gold ring. Little does he know that his legacy will confront Frodo with an immense and impossible task; a perilous journey across the darkest realms of Mordor to foil the Dark Lord’s quest for total dominion. 

Paul Hart said, “Welcoming the cast and creative teams into rehearsals this week has been hugely exciting.  The Lord of the Rings is one of the most epic stories ever written, and our production will hopefully bring audiences closer to the heart of this story than ever before – both figuratively and literally in our intimate 200 seat theatre.  What’s central to this production is that we’re telling it through the perspective of the Hobbits and hopefully audiences will experience our depiction of Middle-earth with the same awe and wonderment. We’re so fortunate to be working with an incredible creative team and a truly multi-skilled group of performers and we’re determined to make a piece of theatre that will live long in the memory of all who see it!”

Claire Murray said, “For twelve weeks, we are welcoming audiences to experience this incredible musical in our very special corner of West Berkshire. We’re so excited to welcome new audiences to the theatre, coming from far and wide to visit our beautiful grounds for the first time, as well as our wonderful and loyal audiences who have visited us many times before, to see us using our space in a new and exciting way.  With the design of the show spilling out from the theatre across our gardens, audiences will be welcomed into the Shire for dinner and drinks in our Restaurant or Garden Café on the lawn, before joining in the celebrations for Bilbo’s birthday which marks the start of the show.  Any production is a team effort, and we’re so grateful to our wider community for their support, particularly those who are so kindly hosting our thirty-strong company this summer, and all those who are sharing in our excitement.”

Fredrica Drotos, Director of Brand and Licensing at Middle-earth Enterprises added; “Middle-earth Enterprises along with our good partners at Kevin Wallace Ltd can’t imagine a more fitting locale for the live staging of the Fellowship’s epic adventures from the Shire to Mordor, and back again, than at the Watermill Theatre, set in the bucolic Berkshire countryside.”

The Lord of the Rings will be directed by Paul Hart with design by Simon Kenny, Musical Supervision and Orchestrations by Mark Aspinall, Choreography by Anjali Mehra, Lighting Design by Rory Beaton, Sound Design by Adam Fisher, Projection Design by George Reeve, Associate Directed by Sibylla Archdale Kalid, Puppet Design by Charlie Tymms, and Puppetry Direction by Ashleigh Cheadle. The stage management team are Cat Pewsey (CSM), Katie Newton (DSM), Natalie Toney and Fern Bamber (ASMs) with –Leila Stephenson (ASM Placement).

The Watermill is a 200-seat regional powerhouse, with an unparalleled reputation for producing bold, world-class theatre with local and national reach from its home in West Berkshire. It also has an extensive programme of community outreach, and schools touring work, and a firm commitment to inclusion, environmental sustainability and talent development. 

Posted in:

• Events
• LotR Books
• LotR Stage
• Stage Productions
• The Lord of the Rings
• Tolkien

Share: